Media Studies / Cinema Studies

There is a current wave of interest in pornography as a vehicle for queer, feminist and lesbian activism. Examples include Dirty Diaries: Twelve Shorts of Feminist Porn (Engberg, Sweden, 2009), the Pornfilmfestival Berlin (2006-) and the members-only Club LASH in Stockholm (1995-).

Based on ethnographic fieldwork designed around these cases, the purpose of the thesis is to account for, historicize and understand this transnational film culture and its politics and ethics. The fieldwork consists of interviews, questionnaires and participant observation, including participation as one of the filmmakers in Dirty Diaries.

The thesis studies queer, feminist and lesbian pornography as an interpretive community. Meanings produced in this interpretive community are discussed as involving embodied spectatorial processes, different practices of participation in the film culture and their location in specific situations and contexts of production, distribution and reception.

The thesis highlights a collective political fantasy about a safe space for sexual empowerment as the defining feature of this interpretive community. The figure of safe space is central in the fieldwork material, as well as throughout the film culture’s political and aesthetic legacies, which include second wave feminist insistence on sexual consciousness-raising, as well as the heated debates referred to as the Sex Wars. The political and aesthetic heterogeneity of the film culture is discussed in terms of a tension between affirmation and critique (de Lauretis, 1985). It is argued that the film culture functions both as an intimate public (Berlant, 2008) and as a counter public (Warner, 2002).

Analyzing research subjects’ accounts in terms of embodied spectatorship (Sobchack, 2004, Williams, 2008), the thesis examines how queer, feminist and lesbian pornography shapes the embodied subjectivities of participants in this interpretive community and potentially forms part of processes of sexual empowerment.

Questions of alternative pornography – often dis-cussed under labels such as feminist, lesbian, queer and post – are currently gaining a lot of attention in North America and in Europe. In general terms this interest revolves around the possibilities and conditions for ...

The Feminist Porn Book brings together for the first time writings by feminists in the adult industry and research by feminist porn scholars. This book investigates not only how feminists understand pornography, but also how feminists do porn—that is, direct, act in, produce, and consume one of the world's most lucrative and growing industries. With original contributions by Susie Bright, Candida Royalle, Betty Dodson, Nina Hartley, Buck Angel, Lynn Comella, Jane Ward, Ariane Cruz, Kevin Heffernan, and more, The Feminist Porn Book updates the arguments of the porn wars of the 1980s, which sharply divided the women's movement, and identifies pornography as a form of expression and labor in which women and racial and sexual minorities produce power and pleasure.

By way of a contextual investigation of the contemporary early film culture in Shanghai, this study sets out to produce new knowledge regarding the practices of film producer Benjamin Brodsky between 1908-1917. Notions of spatiality and local identity are weighed against historiographic accounts, theories of modernity and articles in contemporary news press. New facts concerning Brodsky’s diverse film practices are compared with older speculation, and put in a global perspective by tracing his marketing strategies in China and in the U.S., and by doing in addition a contextual analysis of Brodsky’s travelogue Trip Thru China.